View allAll Photos Tagged Existence
Dark Demons' Night II (Kavka Antwerpen)
Video: youtu.be/aKS4rAMScPI
More: soundcloud.com/comafrequency/06-coma-frequency-feat-eufor...
And who told the light manager hat it would be a good idea to use only red lights and cut all front lights?
The rock garden design came into existence because I wanted to create a design that was similar to the full, vivid nature of my leafy design, but more delicate. This blue/purple rock garden bracelet is the second one with this design that is for sale.
The bracelet is made with a rich mix of size 6 and 11 Czech seed beads, Japanese cube beads, amethyst chips, Czech leaf beads, and a fun assortment of other Czech glass beads in a variety of sizes and colors. It is made in a right angle weave technique. Each layer is double woven to ensure longevity. The clasp is a periwinkle plastic button that fits into a double beaded loop made with the same seed beads used in the bracelet.
The bracelet is 6 3/4" (17.15 cm) long when clasped. It is 7 1/2" (19 cm) long from end to end, including the clasp. It is 3/4" (1.9 cm) wide at the widest parts.
The holes of existence series explores the many unique holes that we find ourselves trapped in. The grey hole keeps us trapped in a mundane, flatline of existence. Embracing the grey will allow the ordinariness of the universe to be seen and all the colors that dance through it. www.youtube.com/watch?v=CsbvdVCWtjI
Day 239 out take.
Showering is the best and worst time of my day, really. I enjoy it mostly because it's the perfect place for me to escape all of my problems. I sing to myself, I hum along to whatever is in my head, I think about conversations I'm going to have with friends, I talk out lists of things I know I need to get done in the coming week.
I hate it because I sometimes forget how long I'm taking and all of a sudden I realize I've been in the freakin' shower for 35 minutes. My poor, poor roommates!
The Voyage of Life: Youth
West Building, Main Floor—Gallery 60
•Date: 1842
•Medium: Oil on Canvas
•Dimensions:
oOverall: 134.3 × 194.9 cm (52⅞ × 76¾ in.)
oFramed: 162.6 × 224.5 × 17.7 cm (64 × 88⅜ × 6 15/16 in.)
•Credit Line: Ailsa Mellon Bruce Fund
•Accession Number: 1971.16.2
•Artists/Makers:
oArtist: Thomas Cole, American, 1801-1848
Overview
Cole’s renowned four-part series traces the journey of an archetypal hero along the “River of Life.” Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle, emblematic of the daydreams of “Youth” and its aspirations for glory and fame. As the traveler approaches his goal, the ever-more-turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature’s fury, evil demons, and self-doubt will threaten his very existence. Only prayer, Cole suggests, can save the voyager from a dark and tragic fate.
From the innocence of childhood, to the flush of youthful overconfidence, through the trials and tribulations of middle age, to the hero’s triumphant salvation, The Voyage of Life seems intrinsically linked to the Christian doctrine of death and resurrection. Cole’s intrepid voyager also may be read as a personification of America, itself at an adolescent stage of development. The artist may have been issuing a dire warning to those caught up in the feverish quest for Manifest Destiny: that unbridled westward expansion and industrialization would have tragic consequences for both man and nature.
Inscription
•Lower Left: Rome / 1842 / T. Cole
Provenance
Sold by the artist to George K. Shoenberger [1809-1892], Cincinnati, perhaps as early as 1845 and no later than May 1846;[1] Shoenberger heirs, after 20 January 1892;[2] purchased 1908 by Ernst H. Huenefeld, Cincinnati;[3] gift 1908 to Bethesda Hospital and Deaconess Association of Methodist Church of Cincinnati;[4] sold 17 May 1971 through (Hirschl & Adler Galleries, New York) to NGA.
[1]For a discussion of a possible 1845 date, see Thomas Cole, Exh. cat. Memorial Art Gallery of the University of Rochester, 1969: 35. Other sources place the acquisition a bit later than 1845; see Paul D. Schweizer, “The Voyage of Life: A Chronology,” in The Voyage of Life by Thomas Cole, Paintings, Drawings, and Prints, Exh. cat. Museum of Art, Munson-Williams-Proctor Institute, Utica, New York, 1985: 45 (“December 1846?”), and Ellwood C. Parry III, The Art of Thomas Cole: Ambition and Imagination, Newark, Delaware, 1988: 332 (“sometime late in 1846 or, more likely, early in 1847”); however in a Boston Transcript article entitled “The Voyage of Life,” which appeared 21 May 1846, the pictures are mentioned as then belonging to “a wealthy gentleman of Cincinnati.”
[2]A letter of April 1979 from Mrs. Robert Heuck (in NGA curatorial files) specifies: “Mr. Shoenberger died in 1892, at which time many of the belongings of the home were given to heirs.” Shoenberger died 20 January 1892; for additional information, see The Biographical Cyclopaedia and Portrait Gallery with an Historical Sketch of the State of Ohio, 6 vols., Cincinnati, 1895: 6:1457-1458.
[3]Mrs. Robert Heuck, letter of April 1979 (in NGA curatorial files) states: “In 1908 Mr. and Mrs. Ernest W. [sic] Huenefeld purchased the land [and the house and contents].”
[4]Edward H. Dwight and Richard J. Boyle, “Rediscovery: Thomas Cole’s ‘Voyage of Life’,” Art in America 55 (May 1967): 62.
Associated Names
•Bethesda Hospital and Deaconess Association
•Hirschl & Adler Galleries
•Huenefeld, Ernst H.
•Shoenberger, George K.
Exhibition History
•1842—Annual Exhibition of Modern Artists, Piazza del Popolo, Rome, 1842, no cat.
•1842—Private Exhibition, Luther Terry’s studio, Orto di Napoli, Rome, 1842.
•1843—Pictures by Thomas Cole N.A. … The Voyage of Life! A Series of Allegorical Pictures, National Academy of Design, New York, 1843-1844, no. 2.
•1843—Second Exhibition, Boston Artists’ Association, 1843, no. 2.
•1844—Paintings Exhibited…, Pennsylvania Academy of Fine Arts, Philadelphia, 1844, no. 2.
•1848—Western Art Union, Cincinnati, 1848, no cat.
•1854—Pictures at the Ladies’ Gallery, Cincinnati, 1854, 2 and 5, no. 21, as Youth.
•1983—A New World: Masterpieces of American Painting 1760-1910, Museum of Fine Arts, Boston; Corcoran Gallery of Art, Washington, D.C.; Grand Palais, Paris, 1983-1984, no. 26, repro.
•1985—The Voyage of Life by Thomas Cole, Paintings, Drawings, and Prints, Museum of Art, Munson-Williams-Proctor Institute, Utica, New York, 1985, 4, 5, 28, 30-32, 34-36, 38-40, 42, 44, 45, 48, 53, 66-69, no. 38.
•1994—Thomas Cole: Landscape into History, National Museum of American Art, Washington, D.C.; Wadsworth Atheneum, Hartford; The Brooklyn Museum, 1994-1995, fig. 116.
•1995—Loan for display with permanent collection, The Detroit Institute of Arts, 1995-1996.
•2000—Explorar el Edén: Paisaje Americano del Siglo XIX, Fundación Colección Thyssen-Bornemisza, Madrid, 2000-2001, no. 3, repro.
Technical Summary
Secondary ground layers include yellow under the boat and surrounding area; red under the sky across the top. Infrared reflectography reveals underdrawing of the central mountain peak, the castle/temple, and aura. A tear in the upper center of the sky has been repaired. There is abrasion along the lower edges, scattered losses along the edges, and craquelure throughout.
All four paintings in The Voyage of Life series were executed on herringbone twill fabric with moderately fine threads and a moderately rough surface. The paintings were lined (apparently for the first time) and the original panel-back stretchers were replaced during treatment in 1970-1971. The presence of unused tack holes and the pattern of wear on the canvas edges suggest that the paintings were originally stretched and painted on slightly larger stretchers, and then restretched by the artist on the panel-backed stretchers. All four paintings have white ground layers; in specific areas of each painting (see individual comments, below) secondary ground layers of different colors were applied. Infrared reflectography reveals only minimal underdrawing. Paint was applied moderately thinly and with low and broad brushstrokes in some areas such as the skies, and more thickly and with some high impasto in details such as the figures and foliage. In general, the paintings are in excellent condition, with only scattered small losses, some craquelure, and minor abrasion. In 1970-1971, discolored varnish was removed and the paintings were restored.
Bibliography
•1843—“Cole’s Pictures at the National Academy of Design.” Anglo American (30 December 1843): 239.
•1843—“Dottings on Art and Artists. No. II.” New World 6 (25 February 1843): 246.
•1843—“Mr. Cole’s Paintings.” New-York Daily Tribune (26 December 1843): 2.
•1843—New-York Daily Tribune (18 February 1843): 3.
•1844—“A Few Words About Mr. Cole’s Paintings.” New World 8 (17 February 1844): 217.
•1844—“Cole’s Paintings.” New-York Daily Tribune (9 January 1844): 2.
•1844—“Editor’s Table.” The Knickerbocker 23 (January/February 1844): 97, 196.
•1844—P., S.H.J. “To Thomas Cole.” New Mirror 2 (27 January 1844): 269.
•1847—Transactions of the Western Art Union for the Year 1847. Cincinnati, 1847: 25.
•1848—Bryant, William Cullen. A Funeral Oration, occasioned by the death of Thomas Cole delivered before the National Academy of Design, New York, May 4, 1848. Philadelphia and New York, 1848: 30.
•1848—Whitley, Thomas W. Reflections on the Government of the Western Art Union and a Review of the Works of Art on Its Walls. [Originally published in the Herald of Truth] Cincinnati, 1848: 17-18.
•1849—Lanman, Charles. “The Epic Paintings of Thomas Cole.” Southern Library Messenger 15 (June 1849): 353.
•1849—Transactions of the Western Art Union for the Year 1848. Cincinnati, 1849: 10.
•1853—Noble, Louis Legrand. The Course of Empire, Voyage of Life, and other Pictures of Thomas Cole, N.A.. New York, 1853: 295-298, 301, 309, 312-314, 317, 320-322, 353, 359.
•1854—“Thomas Cole.” National Magazine 4 (April 1854): 318-321.
•1855—“Sketchings.” The Crayon 1 (7 February 1855): 92.
•1858—“Notes and Gleanings—Cole’s Pictures of Life.” National Magazine 13 (September 1858): 284-285.
•1860—Green, George W. Biographical Sketches. New York, 1860: 101, 105, 110-112.
•1860—“The Artists of America—Taken from New American Cyclopaedia.” The Crayon 7 (February 1860): 46.
•1865—Cummings, Thomas S. Historic Annals of the National Academy of Design (1825-1863). Philadelphia, 1865. Reprint, New York, 1965: 170, 176, 201.
•1932—Mayer, Frank Blackwell. With Pen and Pencil on the Frontier in 1851: The Diary and Sketches of Frank Blackwell Mayer. Edited by Bertha L. Heilbron. Reprint, Saint Paul, 1932: 41.
•1954—La Budde, Kenneth James. “The Mind of Thomas Cole.” Ph.D. dissertation, University of Minnesota, Minneapolis, 1954: 171, 212.
•1962—Devane, James. “Sightseers Have Visited Scarlet Oaks for 95 Years.” Cincinnati Enquirer (20 May 1962): 6A.
•1964—Noble, Louis Legrand. The Life and Works of Thomas Cole (1853). Edited by Elliot S. Vesell. Cambridge, Massachusetts, 1964: 220-224, 231, 233-235, 237, 239-240, 264.
•1967—Dwight, Edward H., and Richard J. Boyle. “Rediscovery: Thomas Cole’s ‘Voyage of Life’.” L’Art et les Artistes 55 (May 1967): 60-63, repro. 62, repro. detail 63.
•1967—Merritt, Howard S. “Thomas Cole’s List, ‘Subjects for Pictures.’” In Baltimore Museum of Art, Annual II: Studies on Thomas Cole, an American Romanticist. Baltimore, 1967: 84, 90.
•1970—Riordan, John. “Thomas Cole: A Case Study of the Painter-Poet Theory ofArt in American Painting from 1825-1850.” 2 vols. Ph.D. dissertation, Syracuse University, 1970: 1:99-100; 2:345, 455-497.
•1973—Wallach, Alan Peter. “The Ideal American Artist and the Dissenting Tradition: A Study of Thomas Cole’s Popular Reputation.” Ph.D. dissertation, Columbia University, New York, 1973: 70-72, 106.
•1976—Kurland, Sydney. “The Aesthetic Quest of Thomas Cole and Edgar Allan Poe: Correspondence in their Thought and Practice in Relation to their Time.” Ph.D. dissertation, Ohio University, Athens, 1976: 105-109, 172, repro. 227.
•1977—Wallach, Alan. “The Voyage of Life as Popular Art.” The Art Bulletin 59 (1957): 234.
•1979—Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 106, pl. 93.
•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 133, repro.
•1980—Coen, Rena N. “Cole, Coleridge and Kubla Khan.” Art History 3 (June 1980): 218, 227, pl. 32.
•1980—Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 11, 14, no. 25, color repro.
•1981—Virdis, Caterina Limentani. “Paesaggio e racconto in Edgar Allan Poe.” Artibus et Historiae 4 (1981): 90, 94, repro. 90.
•1981—Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: color repro. 96, 112-113.
•1983—Schweizer, Paul D. “Another Possible Literary Source for Thomas Cole’s Voyage of Life.” In “New Discoveries in American Art.” Edited by Jayne A. Kuchina. The American Art Journal 15 (1983): 74-75.
•1985—The Voyage of Life by Thomas Cole, Paintings, Drawings, and Prints. Exh. cat. Museum of Art, Munson-Williams-Proctor Institute, Utica, New York, 1985: 66-69.
•1987—Sarnoff, Charles A. “The Voyage of Life Had a Life of Its Own.” Paper presented to the NGA, January 1987.
•1987—Wilmerding, John. American Marine Painting. Rev. ed. of A History of American Marine Painting, 1968. New York, 1987: 44, 46, 47, color repro. 42.
•1988—Parry, Ellwood C., III. The Art of Thomas Cole: Ambition and Imagination. Newark, London, and Toronto, 1988: 218, 228, 265-268, 270-272, 275, 277, 280, 284-285, 291-298, 301-303, 332, 338, 378.
•1988—Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 11, 17, 102, 103, no. 28, color repro.
•1990—Powell, Earl A., III. Thomas Cole. New York, 1990: 103.
•1991—Kopper, Philip. America’s National Gallery of Art: A Gift to the Nation. New York, 1991: 263.
•1991—Wilmerding, John. American Views: Essays on American Art. Princeton, 1991: 56, 67, repro. 58.
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 146, repro.
•1992—National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 231, repro.
•1994—Craven, Wayne. American Art: History and Culture. New York, 1994: 202-203, color fig. 15.5.
•1994—Truettner, William H., and Alan Wallach. Thomas Cole: Landscape into History. Exh. cat. Natl. Mus. of Am. Art, Wadsworth Atheneum, Hartford; Brooklyn Museum. Washington,1994: 42,46-47,79,82,84,98-101,113,130-133,138,144,149-150,152,154,182, no. 116.
•1995—Apostolos-Cappadona, Diane. The Spirit and the Vision: The Influence of Christian Romanticism on the Development of 19th-Century American Art. Atlanta, 1995: 137-148, fig. 27.
•1996—Kelly, Franklin, with Nicolai Cikovsky, Jr., Deborah Chotner, and John Davis. American Paintings of the Nineteenth Century, Part I. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 95-108, color repro.
•1998—Boeckl, Christine M. “Path/Road/Crossroads.” In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:692.
•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 308, 310, no. 248, color repro.
From American Paintings of the Nineteenth Century, Part I:
1971.16.2 (2551)
The Voyage of Life: Youth
•1842
•Oil on Canvas, 134.3 × 194.9 (52⅞ × 76¾)
•Ailsa Mellon Bruce Fund
•Inscriptions:
oAt Lower Left: Rome / 1842 / T. Cole
Technical Notes
All four paintings were executed on herringbone twill fabric with moderately fine threads and a moderately rough surface. The paintings were lined (apparently for the first time) and the original panel-back stretchers were replaced during treatment in 1970—1971. The presence of unused tack holes and the pattern of wear on the canvas edges suggest that the paintings were originally stretched and painted on slightly larger stretchers, and then restretched by the artist on the panel-backed stretchers. All four paintings have white ground layers; in specific areas of each painting (see individual comments, below) secondary ground layers of different colors were applied. Infrared reflectography reveals only minimal underdrawing. Paint was applied moderately thinly and with low and broad brushstrokes in some areas such as the skies, and more thickly and with some high impasto in details such as the figures and foliage. In general, the paintings are in excellent condition, with only scattered small losses, some craquelure, and minor abrasion. In 1970-1971, discolored varnish was removed and the paintings were restored.
1971.16.2 (Youth): Secondary ground layers include yellow under the boat and surrounding area; red under the sky across the top. Infrared reflectography reveals underdrawing of the central mountain peak, the castle/temple, and aura. A tear in the upper center of the sky has been repaired. There is abrasion along the lower edges, scattered losses along the edges, and craquelure throughout.
Description by the Artist:
Second Picture: Youth
The stream now pursues its course through a landscape of wider scope and more diversified beauty. Trees of rich growth overshadow its banks, and verdant hills form the base of lofty mountains. The Infant of the former scene is become a Youth, on the verge of Manhood. He is now alone in the Boat, and takes the helm himself; and in an attitude of confidence and eager expectation, gazes on a cloudy pile of Architecture, an air-built Castle that rises dome above dome in the far-off blue sky. The Guardian Spirit stands upon the bank of the stream, and with serious yet benignant countenance seems to be bidding the impetuous voyager ‘God Speed.’ The beautiful stream flows directly toward the aerial palace, for a distance; but at length makes a sudden turn, and is seen in glimpses beneath the trees, until it at last descends with rapid current into a rocky ravine, where the voyager will be found in the next picture. Over the remote hills, which seems to intercept the stream and turn it from its hitherto direct course, a path is dimly seen, tending directly toward that cloudy Fabric, which is the object and desire of the voyager.
The scenery of this picture—its clear stream, its lofty trees, its towering mountains, its unbounded distance, and transparent atmosphere—figure forth the romantic beauty of youthful imaginings, when the mind magnifies the Mean and Common into the Magnificent, before experience teaches what is the Real. The gorgeous cloudbuilt palace, whose most glorious domes seem yet but half revealed to the eye, growing more and more lofty as we gaze, is emblematic of the day-dreams of youth, its aspirations after glory and fame; and the dimly-seen path would intimate that Youth, in his impetuous career, is forgetful that he is embarked on the Stream of Life, and that its current sweeps along with resistless force, and increases in swiftness as it descends toward the great Ocean of Eternity.
Jun: panda…Panda…PANDORA!
Pandora: What?
Jun: You've been staring at that mirror for an hour. What's going on?
Pandora: I'm trying to figure out if I'm real or not.
Jeero: You look real to me, Panda!
Moby: Yes, you look real to me, too!
Jun: You're just as real as the rest of us.
Jeero: Hey, it's not a big deal. Let's just forget about it and go have some banana bread!
What existence is mine, though, if I purely peer at the possibilities, and forsake my fervor, my fighting chance for crowned dreams?
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Note most strikingly the existence of a WOMEN'S Glass Cutting Department in early 20th-century Tiffany Studios!
Art Institute signage:
Attributed to Clara Pierce Wolcott Driscoll
American ,1861-1944
Made by Tiffany Studios
American, 1902-1932
Hanging Head Dragonfly Shade on Mosaic and Turtleback Base, by 1906
Corona, New York
Favrile glass and bronze
As artistic director of Tiffany Studios, Louis Comfort Tiffany approved all his firm’s patterns but designed relatively few lamps himself. Clara Driscoll, head of Tiffany’s Women’s Glass Cutting Department, was likely responsible for the design of this shade and base. She began working for Tiffany in 1888 and designed the majority of the firm’s lamps until she left the company in 1908 or 1909. Although the lamps were mass-produced, glass selectors created different color schemes for each one. Bases and shades were interchangeable so that they could be combined according to the buyer’s taste. This base features two elements frequently employed by Tiffany and Driscoll: mosaic and turtlebacks, or thick glass ovals. French dealer Siegfried Bing included the “dragonfly” lamp in his groundbreaking Art Nouveau exhibition at London’s Grafton Galleries in 1899. Its design—combining stylized dragonflies with abstract shapes, and grounded no in historical decorative motifs but in nature—make an excellent example of the Art Nouveau style that Bing made famous.
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ModdG
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Skream
Miseria
Minettes
Bodyline
The Naked Tree
Nestle my Bossom
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Bohica
Just be careful. There are tricks and treats.
Portobello came into existence as a small suburb south of the city of Dublin in the 18th century, centred on Richmond St. During the following century it was completely developed, transforming an area of private estates and farmland into solid Victorian red-bricked living quarters for the middle classes (on the larger streets), and terraced housing bordering the canal for the working classes.
As a fast-expanding suburb during the 19th century Portobello attracted many upwardly-mobile families whose members went on to play important roles in politics, the arts and the sciences. Towards the end of the century came an influx of Jews, refugees from pogroms in Eastern Europe, which gave the name "Little Jerusalem" to the area.
Dark Demons' Night II (Kavka Antwerpen)
Video: youtu.be/aKS4rAMScPI
More: soundcloud.com/comafrequency/06-coma-frequency-feat-eufor...
And who told the light manager hat it would be a good idea to use only red lights and cut all front lights?
Era mitica della creazione. La Nascita
Triptych of the cosmic existence
Photo 1:
The mythis era of the Creation. The birth
Sarnath is the deer park where Gautama Buddha first taught the Dharma, and where the Buddhist Sangha came into existence through the enlightenment of Kondanna. Sarnath is located 13 kilometres north-east of Varanasi, in Uttar Pradesh, India.
The Buddha went from Bodhgaya to Sarnath about 5 weeks after his enlightenment. Before Gautama (the Buddha-to-be) attained enlightenment, he gave up his austere penances and his friends, the Pañcavaggiya monks, left him and went to Isipatana.
Isipatana is the name used in the Pali Canon, and means the place where holy men (Pali: isi, Sanskrit: rishi) landed.
After attaining Enlightenment the Buddha, leaving Uruvela, travelled to the Isipatana to join and teach them. He went to them because, using his spiritual powers, he had seen that his five former companions would be able to understand Dharma quickly. While travelling to Sarnath, Gautama Buddha had to cross the Ganges. Having no money with which to pay the ferryman, he crossed the Ganges through the air. When King Bimbisāra heard of this, he abolished the toll for ascetics. When Gautama Buddha found his five former companions, he taught them, they understood and as a result they also became enlightened. At that time the Sangha, the community of the enlightened ones, was founded. The sermon Buddha gave to the five monks was his first sermon, called the Dhammacakkappavattana Sutta. It was given on the full-moon day of Asalha Puja. Buddha subsequently also spent his first rainy season at Sarnath at the Mulagandhakuti. The Sangha had grown to 60 in number (after Yasa and his friends had become monks), and Buddha sent them out in all directions to travel alone and teach the Dharma. All 60 monks were Arahants.
Several other incidents connected with the Buddha, besides the preaching of the first sermon, are mentioned as having taken place in Isipatana. Here it was that one day at dawn Yasa came to the Buddha and became an Arahant. It was at Isipatana, too, that the rule was passed prohibiting the use of sandals made of talipot leaves. On another occasion when the Buddha was staying at Isipatana, having gone there from Rājagaha, he instituted rules forbidding the use of certain kinds of flesh, including human flesh. Twice, while the Buddha was at Isipatana, Māra visited him but had to go away discomfited.
A stone pillar marks the spot where the Buddha preached his first sermon. Nearby was another stupa on the site where the Pañcavaggiyas spent their time in meditation before the Buddha's arrival, and another where five hundred Pacceka Buddhas entered Nibbāna. Close to it was another building where the future Buddha Metteyya received assurance of his becoming a Buddha.
Buddhism flourished in Sarnath in part because of kings and wealthy merchants based in Varanasi. By the third century Sarnath had become an important center for the arts, which reached its zenith during the Gupta period (4th to 6th centuries CE). In the 7th century by the time Xuan Zang visited from China, he found 30 monasteries and 3000 monks living at Sarnath.
Sarnath became a major centre of the Sammatiya school of Buddhism, one of the early Buddhist schools. However, the presence of images of Heruka and Tara indicate that Vajrayana Buddhism was (at a later time) also practiced here. Also images of Brahminist gods as Shiva and Brahma were found at the site, and there is still a Jain temple (at Chandrapuri) located very close to the Dhamekh Stupa.
At the end of the 12th century Sarnath was sacked by Turkish Muslims, and the site was subsequently plundered for building materials.
Sarnath has been developed as a place of pilgrimage, both for Buddhists from India and abroad. A number of countries in which Buddhism is a major (or the dominant) religion, among them Thailand, Japan, Tibet, Sri Lanka and Myanmar, have established temples and monasteries in Sarnath in the style that is typical for the respective country. Thus, pilgrims and visitors have the opportunity to experience an overview of Buddhist architecture from various cultures.
WIKIPEDIA